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In Jazz harmony triads are not often played as the standard voicing for a chord.
However, when triads are combined with other notes they can be used to find
interesting voicings that are easier to find....
C7(#11)
Pno.
C7[]
C7(#11)
C7[]
C7(b9)
C7[]
C7(b9)
The C7b9 chord can easily be found by playing the triad on the VI degree
of the scaled over the 3rd 7th tritone
C7[]
C7[]
C7(b9)
C7(#11)
The C7#11 chord (Lydian Dominant) has a distinctive sound because of the raised 11th.
It is easily found by playing the Major triad one tone above the Root chord.
The Triad or the Tritone can be inverted.
14
C7(b9)
11
Pno.
C7[]
C7[]
Pno.
C7(#11)
Pno.
VI = AMaj Triad
The C7b9#11 chord can easily be found by playing the MINOR triad on the #IV degree
of the scaled over the 3rd 7th tritone
Half-Diminished Chords...
17
Pno.
US II
= E triad
--------------3rd & 7th D
D7#11
Pno.
US V
= E triad
--------------6th & 3rd Am
Am6
C7(b5)
C6
...or F7#11
...or B7Alt
...or Am7b5
US b7
= E triad
---------------Root & b5 F#
F#m7b5
B7(b5)
26
US bVI
= E triad
--------------7th & 3rd Ab
Ab7Alt
23 E7(b5)
Pno.
19
Pno.
...or C7#11
...or F#7Alt
...or Em7b5